Named Best First Book for the International Latino Book Awards, one of the best novels of the year by the Latina Book Club, and a "must-read book" by the New York Post. Chris Selden is drifting after college graduation until he finds himself developing a career in fashion and media. During the day, he becomes a commodity, a body that is traded and sold, merchandised and marketed, while at night, he is a journalist for the Star-Ledger. Soon he is living two lives, both of which are based on their own set of fabrications. But Selden discovers that he is also drifting downward, falling into a state in which he barely recognizes himself, becoming further enveloped in a culture where even reality is a copy of a copy.

Going Down

Campanioni, Chris

Literature & Fiction

Aignos Publishing

Poems become footnotes, or they bleed across columns to create new meanings, or they are reversed, line for line, at exactly the midway point and "played back" until they take the form of screenplays, billboards, palimpsests, and a shutter roll of film ... in all of these endeavors, Campanioni declares: words are not meant to be static on the page.

In Conversation

Poetry

Aignos Publishing, Inc.

In suburban New Jersey, in the summer of 2006, a recent college graduate answers a Help Wanted ad from a travel agency seeking tourists for "direct sales distribution." It doesn't take him long to figure out the function of the company-issued camera. During an initial trip to London, he also discovers his real role: Terrorist. Instead of fleeing, he quickly finds himself swept up in a cast of characters from New York City's fashion and art world, the newsroom and the travel industry, government agencies and back alley dentists, all of them involved in the culture industry and its destruction of social and historical landmarks and signposts for money-and later, for something much greater than currency. From the south of France to Thailand and North Korea, the thread runs deeper, and as readers learn more about the culture industry, they also learn that no one is inculpable, and nothing is truly as it seems. 

Tourist Trap

Literary

Black Rose Writing

A couple arrive at a Mexican resort town as grisly murders escalate, crowds converge in Manhattan for an End of the World party, a journalist's search for the real story leads him to the facts of his own disappearance. . . Chris Campanioni's Drift is an apocalyptic riddle, a countdown to dead time, where what's scripted begins to blur with what's real and the pervasive fear of being surveilled is matched only by a desire to keep filming."Drift is a dizzying, nightmarish journey through our final days. This is one of those unique works, existing somewhere between Julio Cort zar's 62: A Model Kit, Richard Kelly's Southland Tales, and maybe Lars Von Trier's Melancholia . . . Campanioni has written an hysterical, existential glimpse of a parallel now populated with disappearing lovers, converging singularities and technological depression." --Chris Lambert, author of Killer Unconquered"Campanioni's writing is playful, unflinching . . . a much-needed reminder of our endless potential for duality, in a world that too often suggests only polarity is possible."--Harvard Review"He is Frank O'Hara traveling the hyper-connected contemporary landscape via iPhone--spawning, recording, discarding speculative versions of himself. . . He carries his Situationism between cities, between countries, between periods in his life without rest or regard for boundaries. Campanioni isn't playing at being clever; he is erasing himself to locate the sublime." --The Brooklyn Rail

Drift

United States

King Shot Press

Literary Nonfiction. Latino/Latina Studies. Hybrid Genre. DEATH OF ART dissects post-capitalist, post- Internet, post-death culture; our ability and affinity to be both disembodied and tethered to technology, allowing us to be in several places at once and nowhere at all. "The future is trash. Recycling it, re-arranging it. Making it beautiful again." "Lately I had been thinking about writing a memoir because everything else I've ever written is a memoir while pretending to be something else and I figured it was time I did something else, which was a memoir. So much of my life is predicated on pretending or performance. Language had become another performance for me. One in which I could show off and show myself. At the same time." Chris Campanioni starts by cutting out his face in every fashion editorial he's ever been in. The confession begins. Unless it's another performance, moving from the Lower East Side in 2015 to the Cannes film festival in 2011, Beverly Hills 90210 and the Day-Glo gaze of the Late Eighties and Early Nineties. The quality of a photograph is called into question in a culture that is oversaturated with them. The desire for image to be replaced by a different, more symbolic charge of the written text and physical utterance is a call to restore faith in art's sustainability. Death meets birth for its eventual renewal. In re-evaluating the genre, Campanioni also re-evaluates our cultural capital, as well as our current modes of interaction and intimacy, exploring narcissism through the lens of self- effacement, pop culture, the cult of celebrity, and the value or function of art and (lost and) found art objects.

Death Of Art

Biographies & Memoirs

Community & Culture

C&R Press

the Internet is for real inverts the autobiography in the age of dis-integration, calling into question all narratives of national belonging.
“Right? So that the universe could eat me &amp; send traces everywhere, this book or the backroom countertop audio of the same scene.”
Sifting through—and re-writing—the films of Godard, the novels of Henry James, Twin Peaks, VR fantasies, Internet ephemera, and his father’s dreams of Cuba, Chris Campanioni reveals the materiality of our spaceless encounters, and forces us to reckon with the violence hidden below the sleek 4G surface. As he revisits his parents’ migration to the United States and his own first-generation dislocation through a blur of poetry, prose, and screen-play, Campanioni shows us that in a culture of self-dissemination and unlimited arrivals, we are all exiles under the sign of a

the Internet is for real

Computers & Technology

Networking & Cloud Computing

What I want is the intimacy of anonymous encounters within the text itself, and yet to be effaced and revealed, even and especially by my own authorial departure. And it would take the form of a repetition or a reversal; a re: verse in which we correspond lyrically; a re: verse in which our correspondence becomes the poem. Of course, an integral part of any correspondence is the space between things, those slender apertures lit up with waiting. It is in these liminal spaces that possibility accumulates. We write toward this space, in response to its silences.

re: Verses

Darling, Kristina Marie

Reszies, Heidi

Essays & Correspondence

Operating System

Literary Nonfiction. Latinx Studies. Memoir. THE INTERNET IS FOR REAL inverts the autobiography in the age of dis-integration, calling into question all narratives of national belonging. "Right? So that the universe could eat me &amp; send traces everywhere, this book or the backroom countertop audio of the same scene." Sifting through--and re-writing--the films of Godard, the novels of Henry James, Twin Peaks, VR fantasies, Internet ephemera, and his father's dreams of Cuba, Chris Campanioni reveals the materiality of our spaceless encounters, and forces us to reckon with the violence hidden below the sleek 4G surface. As he revisits his parents' migration to the United States and his own first-generation dislocation through a blur of poetry, prose, and screen-play, Campanioni shows us that in a culture of self-dissemination and unlimited arrivals, we are all exiles under the sign of a mythical return.

Arts & Literature

Literary Nonfiction. Latinx Studies. LGBTQIA Studies. How do we re-write American identity? Start by exploding the canon. Chris Campanioni begins by adapting (re-writing?) Henry James's The American and Gertrude Stein's "Americans" through an amalgam of annotations, observations, aphorisms, and asides, dissolving the boundaries between journal and novel, autobiography and fiction to enact the correspondence between all things when they are copied out. Then he goes further, imagining several other books inside this one, including an exploration of the ways in which "migrant illegality has been fabricated and shaped since September 11, and how these processes parallel the expansion of criminalization in an increasingly securitized and (border-) patrolled United States, and how this might inform a critical evaluation of technology's role in capturing and containing bodies: the specular and surveillant logic deployed for the divestment of human rights--to dispel bodies or, alternatively, to keep them in check." More than anything else, it is this hypothesized convergence of the real, the not real, and the not yet real that propels A AND B AND ALSO NOTHING toward a blueprint for American identity built on errancy and errantry, hospitality and mutability, and a reevaluation of the exclusionary practices premised on the fetishization of origin and the original; the singularity of specialization. "Against nothing," Campanioni writes, "if not against expertise and the territorial character of art." In introducing the game and inviting all of us, A AND B AND ALSO NOTHING is both a call and a response to the avant-garde, an attention to the community of neo-mestizo writers and writers of color who have, consistently, been left out of its genealogy.

A and B and Also Nothing

Otis Books | Seismicity Editions

See the best price to sell, buy, or rent books by Campanioni, Chris. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Campanioni, Chris

See the best price to sell, buy, or rent books by Campanioni, Chris. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Going Down

In Conversation

Tourist Trap

Drift

Death Of Art

the Internet is for real

re: Verses

the Internet is for real

A and B and Also Nothing